• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.1-18
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• 2010

The Aesthetics of Kwanbok and Hyungbae and their Modern Applications Starting from practical purpose, kwanbok worn by government officers were developed in original and unique fashion over long time. In particular, as hyungbae (embroidered patches for kwanbok) that had been used for kwanbok has remained in existence even today, providing inspiration for a variety of design, it is bringing attention to the aesthetic value and importance of kwanbok. Under the circumstances, this study has elicited aesthetics from kwanbok and hyungbae as follows: First, they imply the wish of long life and happiness as a symbol of favorable omen and distinguish one's status according to the shape, color, and pattern. Second, kwanbok and hyungbae reveal our ancestors' naturalistic perspective in art. Third, pleats, slits and shapes in robes reveal practical aesthetics in composition. Fourth, slits in kwanbok create the aesthetics of contrast and harmony of lining and outer cloth. Modern applications of kwanbok is of value as they represent traditions and maintain the original forms, showing the image of Korea in the 21st century. Such efforts mean that they do not only make more beautiful clothes, but also create overall philosophies in life, including personal values.

• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.29-36
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• 2006

Fashion and interior architecture are two areas of design that may share common issues, trends and philosophies, making fashion design human's second skin and interior architecture the third. The concept of 'skin' has become one of the most interesting phenomena in design during the past decade and not surprisingly similar issues can be seen also in fashion and architectural design. The current trend in fashion design is that the skin (clothing) has become detached from the human body and extended into the environment, resulting fashion as art objects. Skin in architecture and interior design has also become detached from the structure so designers have more freedom to experiment by using advanced technologies. The present study attempts to analyze common features of 'skin phenomenon' in fashion and interior architecture that are; detachment, emphasis on space, extension, territorial blending, and digital applications. The researcher has used constant comparative method to categorize the five features among many examples. The limitation of this study is that it is focused on the formative phenomena of projects excluding the philosophies and personal background of each designer. However, it is hoped that the study may assist designers and other researchers to understand relationships between fashion and interior design, hold broader spectrum in art and design.

• Culinary science and hospitality research
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• v.13 no.4
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• pp.220-231
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• 2007

This study was designed to standardize the recipes of native local foods in Gijang region such as 'Miyeokseolchi', 'Molseolchi', 'Gijangumuk' and 'Seokbakji' and analyze their nutrients. The test recipe for each food was prepared according to the information obtained from the personal interview of Gijang natives and then applied to sensory evaluation. After that, CAN pro 3.0 was used for the nutritional evaluation. The results are as follows: Both Miyeokseolchi and Molseolchi were preferred with soybean sprouts added but Miyeokseolchi with fermented red pepper paste added. Gijangumuk was preferred with dissolved ceylon moss added, not filtered. Seokbakji was preferred with salt-fermented gizzard shad added. Nutrient analysis was performed according to the established standard recipe. In general, it appeared that energy content was low and amino acid contents such as glutamate, aspartic acid, leuicine and arginine were high. Major fatty acids in Miyeokseolchi and Molseolchi were a linoleic acid and Seokbakji has a palmitic acid and EPA.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.474-490
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• 2019

Fashion films with screen limits have a way of changing communication methods through sensorial organs in order to go beyond limits. This study shows that such change is possible if fashion films are based on haptic factors. This study examines haptic factors of fashion films from the three perspectives of filming factors of different shot size, synesthetic, and cinematic screen methods. First, when the subject to be emphasized is enlarging, the observer comes to project themselves to the situation and incurs a haptic sensation. Second, when associating an experience by personal recollection or social customs when more than two senses are stimulated simultaneously, haptic sensations, triggered by multiple senses, takes place. Third, a blurred image shows haptic sensations through inducing observers to see into the meaning of a shot. As a result, the senses of the observer enlarge and enhance a communication ability through absorbing and accepting a fashion film. Furthermore, fashion films are effective in understanding the cultural forms of the age.

• Journal of Yeungnam Medical Science
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• v.40 no.2
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• pp.218-222
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• 2023

A holistic approach to diabetes considers patient preferences, emotional health, living conditions, and other contextual factors, in addition to medication selection. Human and social factors influence treatment adherence and clinical outcomes. Social issues, cost of care, out-of-pocket expenses, pill burden (number and frequency), and injectable drugs such as insulin, can affect adherence. Clinicians can ask about these contextual factors when discussing treatment options with patients. Patients' emotional health can also affect diabetes self-care. Social stressors such as family issues may impair self-care behaviors. Diabetes can also lead to emotional stress. Diabetes distress correlates with worse glycemic control and lower overall well-being. Patient-centered communication can build the foundation of a trusting relationship with the clinician. Respect for patient preferences and fears can build trust. Relevant communication skills include asking open-ended questions, expressing empathy, active listening, and exploring the patient's perspective. Glycemic goals must be personalized based on frailty, the risk of hypoglycemia, and healthy life expectancy. Lifestyle counseling requires a nonjudgmental approach and tactfulness. The art of diabetes care rests on clinicians perceiving a patient's emotional state. Tailoring the level of advice and diabetes targets based on a patient's personal and contextual factors requires mindfulness by clinicians.

• Journal of Science of Art and Design
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• v.9
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• pp.49-87
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• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.

• Journal of the Korea Society of Computer and Information
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• v.25 no.2
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• pp.149-156
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• 2020

In this paper, we propose the moderating effects and mediation effects of social support on the relationship between art therapists' job stress and psychological burnout. Based on the previous studies, this study set up four types of variables: 1) independent variable, 2) moderating variable, 3) mediation variable, and 4) dependent variable. Job stress was identified as an independent variable, social support was identified as both a moderating variable and mediation variable, and psychological burnout was identified as a dependent variable. To empirically conduct this study, a total of 200 questionnaires were distributed to art therapists. Consequently, a total of 150 survey responses were collected. The survey results are as follows. First, there were not differences in job stress, psychological burnout, and social support due to personal environmental factors. This included career, employment type and working hours. Second, the result showed a high-level of correlation among job stress, psychological burnout, and social support. Third, social support was found to have a moderating effect on the relationship between the art therapists' job stress and psychological burnout. Forth, social support was found to have a moderating effect on the relationship between the art therapists' job stress and psychological burnout.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.10
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• pp.309-317
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• 2019

This study examined the effects of cooperative art activities according to visiting a forest on fulfilling young children's leadership ability and happiness. To achieve this, a study was conducted on experimental and non-experimental groups of 20 young children in classes A and B at S kindergarten, and also a group of children of the same age in a similar environment. The 16-session forest experience play activity program was planned for conducting research on the children's leadership ability and happiness fullness when using the Nuri curriculum, and this was carried out on the experimental group for 2 months. The pre- and post-analyses were carried out on the non-experimental group after outdoor activities on the topic of the Nuri curriculum-related activities. The results were as follows. First, cooperative art activities through the forest experience had a positive effect on the children's reinvention ability, human relations, goal achievement and direction power, which are all sub-factors of their leadership. Second, cooperative art activities through the forest experience had a positive effect on positive emotions, commitment, personal relations, meaning and achievement, which are sub-factors of their total happiness. Overall, their cooperative art activities during the forest experience were judged to be facilitating factors that have a positive effect on their leadership and happiness fullness.

• (The) Research of the performance art and culture
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• no.33
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• pp.9-31
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• 2016

Shin Gwang-su (申光洙, 1712~1775), also known as Seokbuk (石北), is a well-known poet and author of the song poetry (詩唱) "Gwanseo-akbu (Poems of the Gwanseo Region, 關西樂府)" in the late Joseon Dynasty. "Gwanseo-akbu" was popular among the Joseon Dynasty musicians. This fact confirms that the tradition of adding a melody to Shin Gwang-su's "hansi (Korean poetry recorded in Chinese characters, 漢詩)" already existed in the Joseon Dynasty. It is also a proof that the hansi poem was used in songs. Besides Seokbuk, other literary figures in the Joseon Dynasty wrote and sang hansi. In that case, the place of communication for songs was a poet's personal study, or "sarangbang." But when, like the works by Seokbuk, poems were sung by musicians, they became available to the public to communicate through music. This study is one of the attempts to re-make Seokbuk Shin Gwang-su's poems and songs, once popular among the Joseon Dynasty people, into the contemporary music that can be performed on stage. By adding a certain melody to his poems, this study introduces a case of musical work and offers an opportunity to consider hansi as performance art. There is a number of hansi works by Shin Gwang-su, and each poem includes material which can help survey Shin Gwang-su's musical life. And, working on his hansi works makes it possible to narrate major events that took place in Shin's life. Thus, this study attempts to focus Shin Gwang-su's musical life and introduces methods and contents to stage his hansi poems as performance art.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.